Mw Major Project

7/31/2019 Mw Major Project

1/401

Major Project


2/402

ContentsForeword: 3

Proposal: 4-7Silence:earth: 8-12

Review: 13

Storyboard: 14Illustrations: 15-18

The Illustrative Aim: 18After Effects & Animation: 19-22

Sound Design: 23-24

The Pitch Project: 25-28

Lecture Series: 29

ILP: 30

Business Plan: 31

Portfolio Plan: 32The web Vehicle: 33

The Dissertation: 34-37In The Mind Of The Artist: 38

Year Review: 39


3/403

ForewordFor the main project I planned to

take the experience project from

the irst year and develop it further.

In the idea that the theory that I

learn from studying philosophy and

psychology I can utilise to create a

tool in which I can apply during the

development of my illustrations. The

theory will be covered more in my

dissertation and the application of

which will be shown in my practice.

I would like to start off by explain-

ing the focus that I had for the initial

year; originally I intended to developmy skills in illustration (Digitally and

traditionally). Originally I intended

on creating a novel that would elu-

cidate my early experiences of life, it

was soon after that I realised without

prior knowledge of creative writ-

ing this had proved to be tricky as I

couldnt ind the guidance (or sum

up the motivation) that I needed, I

was eventually left bewildered, feel-

ing somewhat docile from the lack ofprogression.

Though not feeling too discouraged I

progressed on, creating multiple im-

ages that I hoped expressed certain

aspects of what I had learned from

my research in Philosophy and Psy-

chology. Throughout this document

I hope you will enjoy the enticing

theories of Philosophy and the way

in which psychology can help usmitigate the experience that illustra-

tion can arouse.


4/404

I call

thisproject:

Silence:Earth

Proposal


5/405

The Beginning:

As my interests had broadened

throughout the irst year of the

foundation degree, I found that i

was leaning more to the practice of

illustration.

Over the break for summer I haddecided that I would dedicate this

last year to developing my art

skills and increasing the size of my

portfolio. So I propose: what better

method is there than to produce a

collection of illustrations and art

works over the coming year and

inevitably trying to publish them.

To achieve this i would like to ex-

plore as many different mediums

and styles of design that are at mydisposal.

So, to summarise my aims and

objectives cohesively:

- Develop mark-making skills in

new and traditional mediums.

- Broaden my skills using Adobe In-

design, Photoshop and Illustrator.

- Understand the use of photogra-

phy as a tool for asset creation.

- Increase my knowledge base of

the illustration and graphic design

profession.

Whilst ultimately continuing to

produce a collection of images to

be published.

The Plan:

Week 1-5:

Planning and Research[Research graphic artists and styles and

possible areas of interest]

Development of skills

[Mark making skills and use of InDesign]

Asset creation[Collate hand-rendered assets and tex-

tures]

Week 6-10:

Development of skills

[Mark making skills and use of Photoshop]

Planning and Research

[Analysis of collated research]

Image creation

[Development of images for inal product]

Week 11-15:

Assessment {of self}

Portfolio Plan

Business Plan

Image creation

[Development of images for inal product]

Week 16-20:

Mid research

Fieldwork (Photography sessions)

Choose inal images ~ Develop

Week 21 - 30:

Formatting

Finalising illustrations

Publishing

{Search open business opportuni-

ties, part-time to full-time}

The Resources:

Digital:

Pc-Mac

Graphic tablet

Flat bed scanner A3

DSL Camera {Nikon D3000}

Software:Adobe Photoshop, InDesign and

Illustrator

Microsoft Word

Autodesk Maya 2011

iTunes & Spotify and zee internet

xD

Traditional:

An endless supply of A4 A2 car-

tridge paperBlack and Red Ink

Paint brushes

HB 7B Pencils

Graphic stylo Pens

Masking tape

Acrylic Paints

Books and literature resources:

(Mainly for inspiration and motiva-

tion)

Udon Apple Illustrative collections

Failboat press Birdsong

Asian Graphics Now!

Anything by Dave Mckean and Niel

Gaiman


6/406

The Research:

I plan to research into artists:

{Here are a select few}

-Christopher Shy

-Dave Mckean

-Niel Gaiman

I want to ind out what processes an artist might go through when creat-

ing their work and why they do it. By researching into other artist I hope

to ind different styles of design and different methods that I could try

and possibly introduce into my own style as well as other things like ind-

ing out about my future ield of work. While researching into other artists

I hope to ind information on market trends and if it can affect the way

the artist would produce a piece of work.

Alongside this I plan to delve into visual representation and how psychol-

ogy might inluence my work, helping me to get the desired reaction froman illustration.

Ultimately I doubt that the research will be a part of the bigger picture,

sometimes I feel that it just holds me back from doing because I spend

most of my time thinking. Though, I understand that research is key to

my project because without context I ind that art is without relevance,

therefore I think undertaking ethnographic research would be important

to the development of my illustrations. Besides, I can provide write-ups of

everything that I record. Thus leading me on to my dissertation:

This is something that seems malleable at the moment; it is unclear to

me because I ind that the topic that I inevitably amount to is Psychol-

ogy or Philosophy. Let me explain that the drive for my artwork comes

from the more unbalanced experiences in life, I feel that these inluence

my work and help me express things deeper. Thus if I was to write about

anything else I couldnt possibly offer you an interesting read. Never the

less, lets get to the point. The hypothesis! That would be a brilliant place

to start. Maybe I could ask the question Why do people do things the way

they do?, though that sounds almost rhetorical, well it is if you know the

answer. That is exactly it, my dissertation is my artwork it is my visual

analysis of the ultimate question. Stay tuned because I think I might be

onto something here, if I am not. Well, stick me in a white jacket and

brand me with the name Dead poet.

Just to please the education board here it is, my hypothesis:

Why do people do the things the way they do?

The obvious answer being: because they do. Though some how I feel I

might have to dig a little deeper than that.


7/407

The Portfolio:

I suppose at some point I need to

stop hiding my work on my hard

drive and shove it in peoples faces;

hopefully getting the reaction that

I hope for. It almost seems quite

obvious how Im going to present

my portfolio; online being theirst choice either a free website

(because Im poor) or a personal

domain with paid hosting and mea-

gre advertisement. The only dif-

icult part is building a website (I

couldnt build a website if someone

paid me to). The idea of having an

online portfolio without having to

use some shit free (build your own

online nose bleed) site would only

be created if I could ind some poorsap to work with me to do so.

On a positive note, if it is working

designs for an online portfolio that

is needed then; sure, I could do

that. In fact Id love to. I have many

designs in my sketch books that are

laying about my ofice.

{{Future Reference: INSERT IM-

AGES HERE}}

The Job:

Here comes the dificult part of

explaining my plans for over the

second half of the year. The project

that I am working is a long-term

project; I plan to hopefully kick

start a career with this (I can

dream, ok!). With that in mind, Ithink that doing work experience

for another company though I

would gladly accept a job doing so;

might get in the way of my main

project. Therefore I propose that I

work as though I am a freelancer

and NOT a student! But the un-like-

ly possibilities of doing this seem

quite rash. Therefore my back-up

plan is to get in touch with graphic

design/art companies aroundNottingham and give them a irm

handshake; an obvious example

would be a company like Purple

Circle. I plan to do this by contact-

ing them by email/phone and/or

even the possibility to walking into

there head ofice and saying hello.

(What I mean is shyly hanging

around outside the building and

staring through the window until

someone tells me to get lost.)

The Future

Out of the pan and into the ire is

what they say, I suppose.

I hope that by this time I am ready

to publish this project, hopefully

everything begins their. What I

hope for and what reality willgive me are two different things.

Though I must be responsible and

take action to get what I desire and

to do this I hope to have developed

a broad portfolio that I can use to

take to a graphic design company

and pray that I am hired. Whilst

doing this I plan to work part/full

time at some crappy job so that I

can sustain myself enough to live

for the dream.

Fuck that! Lets dream for a bit!

I plan to develop my graphic novel/

illustrative collection and publish

it myself, hopefully getting recog-

nition from the local papers and

among my piers. Whilst this is hap-

pening I would love to start an on-

line blog publishing a mini graphic

novel series weekly; eventually

getting recognition from publish-

ers ultimately kick starting a career

as a professional illustrator. Whilst

moving forward and moving onto

bigger project, for example acting

art director for ilm production and

even curetting my own graphic art

events.

Obviously I have dreams just like

everyone else, but everything that I

am doing on this course will even-tually work together to form such

a future.


8/408

I started this project by developing illustrations that,

to me, had depth and an increased subjectivity behind

them. I intended them to propose obscene scenarios that

consisted of elements that would enable the audience to

create there own interpretation loosely around the prop-

erties of what may be suggested within the image.

The bathroom:

The purpose of this image is still

quite fragile and almost unin-

tended. It is speciically intention

which I wanted to presuppose

with this image. To me, intention

is something that reverberates

within an image; it is and is notself explanatory. Intention can be

captured not within the image but

within the audience. Yet, all at once

it is grasped as something within

itself and within the understand-

ing of the audience. It is exactly

that, which I have tried to suggest

within the image.

I must isolate the image by ex-

plaining it in a thematic sense. The

image is comprised of a toilet anda foot within a bathroom; this is to

suggest that the relation from the

thing itself (toilet, illustration) and

the human relation (the foot, the

audience) is the topic for discus-

sion. The scene has been lipped

upside down as to suggest the

unbalance (fragility) of its message.

The aesthetics of the scene is to

emphasise this message. The foot

within the scene is to express the

human condition; be it the topic of

the message, although it also signi-

ies another; being that its place-

ment within the scene could give

arousal to the idea of it belonging

to someone in the sense that the

composition of the illustration is

only framing the foot and that the

person within the scene has hung

themselves. This would signify to

me the death of the message or in

the sense that the intention is notalways perceived by the audience.

It is this that I mean when I express

the relationship between the illus-

tration and the audience.

1991:

This image was a little off subject

in terms of what I usually develop.

It does not coincide with my usual

exploration of perception. I devel-

oped this as an emotive depiction

of where I was and where I had

come from.

The house:

In this image I wanted to test

my photo-manipulation skills. I

wanted to use pre-made textures

and develop them into an illustra-

tive image. I wanted it to represent

fragmented memories. I achieved

this by framing an image of a house

with blotches as if to represent

missing pieces of someones mem-ory in a way to show that when a

memory is recalled it isnt going

to be an exact replication of the

original event. I wanted to signify

the mind by the use of a door in

the top of the image and branches

escaping from it to symbolise syn-

apses in the brain.

Silence: Earth


9/409

The Bathroom


10/4010

1991


11/4011

The House


12/4012

Looking


13/4013

ReviewConviction is a storm that can de-

stroy and quickly rebuild. From early

on in the irst half of this year I had

great plans to develop a story thatrelects on my past life, though that

amount of subjectivity probably isnt

the correct way to develop oneself.

So I set my anchor down and slept

on the sea in hope for reconciliation.

I was found with a great vengeance

and a passion that could shatter

any pessimism left by the shackles

of self-pity. This is something that

we can all relect on; with this new

faith I had completely turned aroundmy progress and formalised a plan

to develop a short animation. I feel

that this has illed the void that has

been missing over the irst half of

this year. I plan to take my illustra-

tions and convert them for video in

AE. There are a lot of techniques that

I will need to utilise to perform this,

overall increasing my skill set. Here

is a written plan:

Putting theory into practice

I plan to utilise my knowledge of psy-

chology and philosophy by produc-ing an animation (product) that visu-

ally externalises my thoughts and

theorems. By creating a generalised

scenario I can describe a remedial

task and present it in a romanticised

fashion.

The scenario {narrative}

To describe the animation in totality;

we follow one man at a train station.

As simple as it may seem I want to

hide the simplistic actions of humanbeings in a mask of our own nature,

narcissism. [The only true state that

everyone shares]

I plan to do this by the use of visual

connotation: {that being a statement

within itself}

This idea had formed over the past

couple of weeks as I have startedto read: Beyond Good and Evil

Friedrich Nietzsche, Penguin Classics

and Between existentialism and

Marxism Jean-Paul Sartre, Verso

Radical Thinkers.

It is not the full opinions of these

philosophers but it is the idea of eve-

rything inevitably being viewed as

objective when in fact I view every-

thing being a by product of human-

ity, so in any conclusion we can indthat it is in fact subjective. When It

comes to this animation I will utilise

this sentence: Man at station is sur-

rounded by man, doing something

that man has created for man.

Lets get down to the boring bit, the

planning:

Timespan:

Jan 20th April 30th [11 or so

weeks]

1 4 = Asset Gen

5 7 = AE Compile

8 10 = Sfx gen & SpFx gen11 = export and publicise inal

outcome

Breakdown:-

1 4 =

Scenes 1 Empty tunnel

2 Birds eye platform

3 Front-view of crowd

4 train in tunnel

Individual asset production

1 train Side view // 3D CAD2 Crowds

3 Birds eye light

5 7 =

1 Get all assets into AE and compile

all the stages

2 Generate all the key-frames and

camera movements

8 10 =1 SFX:

1: Background train noise

2: Crowd Noise 1-2 versions

3: Ambient station noise

4: Train approaching and

going past

2 SpFX:

1: light turning on and off

2: colour correction (Gamma

+ Contrast)

3: Crowd Movement4: Train comes to the screen

[Front view At]

11 =

1: Export and public upload

"I started out with convic-tion and drive but slowly my

motivation escaped me and Iabruptly came to a halt."


14/4014

Storyboard

The Storyboard:

This is a rough idea of each scene or sequence. This was to help me plan out each scene and have a general idea

of what will happen in it. I may not create each scene it all depends on how fast I can produce the illustrations.

From here I plan to develop each scene and the assets that will go in it.


15/4015

IlustrationsThe following are the collection of

initial roughs that I had eventually

used during the development of the

illustrations for the scenes that will

come todether to make the anima-

tion:

During this stage I used traditional

methods to draw and sketch out

each scene or character, I preferred

the aesthetics of this method as

opposed to that of purely digital pro-

duction. Though eventually I would

utilise these images to scan in and

eventually manipulate to form the

inalised images.

Fig1 In this image I have devel-

oped the tunnel for the subway,

this will act as the building blocks

for the irst scene; this is half of the

tunnel that will eventually be mir-

rored across to create half of the

irst scene. I plan on scanning thisin to create the coloured aesthetics

of it using manipulated 2D tex-

tures.Fig1


16/4016

Fig2-3

These are the designs for the main

character in the animation. I have

separated the arm from the charac-

ters body so that I may animate it

in AE. I wanted the character to be

simple so that it can be relatable tothe whole audience; I left out most

of the distinctive features so that

it acts as a silhouette. This way the

audience will relate to the char-

acter; almost like superimposing

themselves into the character.

Fig2 Fig3

Fig4 This is Fig1 halfwaythrough development, I had

started to develop the sides of the

walls creating multiple overlays so

that I could eventually bring the

original image to life.

Fig4


17/4017

Fig5

Fig6

Fig5 This was the inal development of ig1 and ig 4; this is the image that will be used in the animation. I

tried to develop the image in the way where its structure and form give reference to the ambiguity of an envi-

ronment. I hope that this environment will help personify the character that will be in the animation. I wanted

the feel of the scene to be able to contextualise its surrounding from the irst person via the third. Hopefully I

will be able to utilise this image to set the opening stage of the animation.

Fig6 I originally developed this illustration to be used as a transitional scene to give reference to the others

but the aesthetics didnt it the style of the whole animation.


18/4018

Fig7Fig7 This is the inal illustration that I developed for the animation. This one was tricky to create because I

tried to develop a type of stage scenario for the illustration. Centralising the character gave him the dominance

that it needed within the illustration.

Throughout the development of

the animation my key aim was to

produce illustrations that would

represent a scenario seen from

the perception of consciousness. I

utilised the third-person view forall of the illustration as this ena-

bled me to externalise the intro-

verted perception of an experience

or scenario. To achieve this I had

developed each image (scene) by

using traditional techniques that

would give the aesthetics of each

scene a rough and hand-made

feel. In each scene I wanted the

aesthetics to be contingent so that

it would always feel dreamlike, soto emphasize to the audience the

un-realistic and raw nature behind

the animation. I wanted to stick to

a similar colour palette through-

The Illustrativeout each illustration, irstly so that

each scene would familiarise itself

with the audience (Thus if I was to

change the palette I would be able

to use the contrast to my advan-

tage, for example I may have usedit to represent a luctuation within

the mood of the main character),

secondly because to me the yellow-

orange tinge to the colour palette

signiied uncertainty (due to its

relation to driving and the recalling

of what yellow means on a traf-

ic light (poor example I know))

or the lighting ambience of a dull

caf; none the less to me it is about

signifying the relation between theself and the surrounding, to con-

stantly arouse the action recalling

experience.

aim


19/4019

After effects

& AnimationFig 1: The irst thing that I encoun-

tered at this stage was the resizing

and scaling down of my illustra-

tions. The sizes of the images were

far too big and the DPI was wrong.

I sized each image down to 1024

x 576 and changed the image DPI

from 300dpi to 72dpi. This was so

that I didnt encounter any prob-

lems at a later stage. The next thing

I did was import all the iles intoa project within AE and start to

compile each scene. I made sure

that each image was imported as

a PS ile so that I could manipulate

each layer, because at a later stage

I would need to be able to ma-

Fig1

nipulate individual parts of cer-

tain scenes. This led me on to edit

some of the background characters

within the scene; I added what is

coined in AE a wiggle (A certain

type of expression control using

numeric coding) onto these layers

so that it would effect them glob-

ally and continuously throughout

the composition. At this stage I had

encountered the problem that thelayers werent behaving as they did

within PS; upon which I later ixed

by editing the Blend Modes within

AE for each layer (Yes, this was

laborious). After I had ixed this I

went on to turn all the layers into

3D editable layers so that I could

alter the position of each object

within the scene so that it would

give the composition a slight per-

ception of what is called 2.5D. This

allowed me to add in a global light

and an alternate camera. The light-

ing created a virtual iridescence

within the scene so that the comp

was not relying on the shading

within the illustrations themselves.The new camera allowed me to use

panning and transition techniques

to suggest to the audience where

the next scene will be taking place

within this scene.


20/4020

Fig2

Fig3

Fig 2-3: At this point I had moved

onto develop the second scene in

which we will be introduced to the

main character. In this scene I had

to use the puppet tool to select

certain points on my character so

that I could create a small section

of IK (Inverse Kinematics), this

consisted of three joints, one beingthe pivot and the others the bone

anchors. This enabled me to be able

to create the arm movement for the

character. I had to tweak the key

frames for the movement so that

the character had slow and pup-

pet-like movements. I was now

able to move onto the inal two

transitions, the irst being a slow

opacity blend between scene two

and scene one (panned out) which

within this scene I had to createa new light that would signify the

phenomena of a trains light being

cast through the tunnel as it was

travelling through the tunnel. To do

this I used key frames to create a

drop and rise in the intensity of the

light. Using the same techniques

I edited the cone of the light (The

cone being the circular projection

size that is cast on the scene) to

change from small to large; thus in-

creasing the effect of the train-lightphenomena.


21/4021

Fig4

Fig5

Fig 4-5: At his stage I was ready

to create the inal transition from

scene one back to scene two. Using

similar techniques to the previous

ones I was able to create another

opacity blend, yet only this time

it was slower to match that of the

change in the train-light phenom-

ena, this was so that it would leave

enough residual imagery so that it

would carry onto the next scene so

that the inal sequence would be

better perceived. In the inal scene

I introduce another layer into the

composition; the train. Once I had

imported the train, I dragged it into

the composition and placed it at

the far left-hand side (just off the

side of the cameras view-point), I

then went on to Key the position of

the train into the timeline; then us-

ing the slider I moved up towards

the end of the inal sequence and

dragged the train to the opposite

side leaving part of the train within

the comp (This automatically

keyed the position in place).


22/4022

Fig6

Fig7

Fig 6-7: Now I was ready to pre

render the composition and check

for any mistakes or for any parts

that needed tweaking. While look-

ing at the pre-render I noticed that

allot of the transitions where quite

jarring, to solve this problem I used

the key frame assistant to edit the

keys to ease in or easy ease andease out. The made the transitions

less jarring and gave me the effect

that I wanted. After a RAM preview

of the whole sequence I was ready

to add the composition to the ren-

der que.

This where I edited the render

settings to give me the best quality

and an .AVI ile type. I used this ileto use in Logic Pro to create the

sound for the animation at which

point I bounced the nished sound

le out of logic and imported it

into my composition and rendered

the composition again except this

time with audio output selected.


23/4023

Sound DesignThis process had started towards the end of this year once I had inalised my animation and rendered

it out. I had a rough idea of what I wanted to create, but overall it was a tricky process. I needed to cre -

ate a soundtrack that would sync directly with my animation so that I could create instances of breath

inhales and exhales as well as ambient loops that would provide a phonetic essence to the audience sothat they could fully grasp the animation as a concrete value.

Fig1-2: To start off the process I

needed to create a simple melody

that would act as an initial building

block for the soundtrack. Due to

my lack of knowledge in the ield of

sound design, I downloaded a MIDI

ile of Debussys Reverie. At which

point I had help from my Tutor to

edit the track to it the style of ani-

mation. We did this by editing thekey strokes in the piano roll within

Logic Pro, alternating the pitch

and tone of some of individual key

strokes. After I had agreed on the

positioning of certain strokes we

then proceeded on to insert modu-

lators into the iles. We used the

channel EQ and a chorus editor

onto certain global tracks, followed

by a Space Designer modulator. The

Space Designer modulator enabledme to alter the global track by edit-

ing the reverb and frequency. This

made the track give the impression

of the phenomena of being in a

wide space. At this point I bounced

the ile out.

Fig1 Fig2

Fig3-4: Once the bounce had

completed I imported the ile into

a new project (Doing this helped

me keep the work space tidy and

shortened the processing power

needed for the track). Within this

project I created a Bus, this bus

enabled me to attach modulators

across all of the global tracks using

the mixer. Once I had cued up allthe sound loops in the correct posi-

tion I started to solo out individual

loops, attach them to the bus that

I had set up as well as editing the

loop individually. Each loop had a

Platinum Reverb and an EQ edi-

tor. This allowed me to edit each

track to produce the sound that

gave the correct phenomenological

impression (A sound that distinctly

arouses the recalling of an experi-ence by which the audience may

relate to the animation, thus giving

the animation distinct qualities be

it relatable to the environment, his-

tory and almost like a personality).

Fig5-6: At this stage I was ready to

edit the automation on each track;

helping each sound to fade in and

fade out by editing the decibels

on a linear automated path (This

seemed to be the only way to

describe it). Using the same tech-

niques I would edit the panning

of each track giving the audience

a sense of directionality specii-cally relatable to something within

a given scene. To help annunciate

the relation of sound to anima-

tion I would use the sample editor

to shorten a tracks wavelength to

the correct distinction that relates

from audio reciprocation to visual

stimulation (syncing).

Fig7-8: Once the soundtrack was suitable for the animation (Synced and gave the correct stimulation to the au-

dience) I was ready to bounce the ile out. Once the ile was complete I re-rendered the audio ile to the anima-

tion using After Effects.


24/4024

Fig3 Fig4

Fig5 Fig6

Fig8Fig7


25/4025

The Pitch ProjectMy Role: Project Manager

Dropbox Details:

Email: fortknight@hotmail.

co.ukPassword: supersillyish1

Group: fortKnight

Game Name: Rapture

Our individual roles:

Mike - Team manager/All

rounder

Leyanne - Art DirectorSherzard - Programmer

Daniel - All rounder

From the moment we were put

into groups we had already kick

started the development stage

even though we were told not to

do too much planning. We had

already created a couple of game

concepts weeks before the actual

start of the two weeks. So when

it naly came to the two weeks

we all felt condent and ready to

go. At the beginning of the two

weeks we were given a theme to

loosely stick to, that theme was

the concept of powering up

and powering down. Thankfully

our working ahead of schedulehad given my team an incredible

advantage; that was time. Early on

we realised that this project was

fast paced and didnt leave allot of

room to make mistakes.

Due to our early on planning we

didnt have to spend allot of time

on the development of ideas.

Once we had nalised our choice

on which concept we would workwith we seemed to hit the ground

running. With the environment

already mapped out due to the

random prototyping lesson, we

started to allocate jobs. At this

point all of us were mucking in

to get the development of the

individual models on the go. Not

to mention that I had given every-

body a task to complete at home

and have ready for the following

day.

During our early on planning we

had already started to map out

roles and timetables and contin-

gency plans. I think if it wasnt for

this time before the two weeks;

we wouldnt have gotten it com-

plete. During the rst week we

aimed to have the level mapped

out in UDK and all the models

ready for the texturing stage.

By the weekend we were at the

point of compiling everything

into UDK. After the weekend we

had started the programming. It

was at this point that we had a

major problem to overcome, our

programmer, could not program!

None-the-less with a joint effortfrom me and Dan, not to mention

all our help from Martin and the

second year ND CGD we man-

aged to push through this barrier.

With each solution there where a

million other problems (Ok, a mil-

lion is probably an exaggeration).

Once we had the programming

sussed we had time left to be more

creative; at which point with theguidance and suggestions of my

fellow team mates I cracked on

to get the textures of the models

done and dusted. Our days of

designing seemed to be quickly

followed by evenings of program-

ming/debugging and eventually a

night of coffee, Skype and UDK.

In our last development day we

were ready to bake and package

our game. At which point we were

hit with a huge problem, we could

not get our code to bake out and

work! Though with the help of

Martin (The legend) all we had to

do was change and tweak a fewstrings of code (dotted around in

so many directories it felt like I

was walking through a mental

library). But alas, success; the

game had compiled, baked and

packaged; followed by a nerv-

ous install and play test. We had

nished. The game worked and

we were ready to present the fol-

lowing day.


26/4026

The prototype of our level...

The inspiration for our

game. (A screenshot from

the game Limbo.

One of our rough

timetables...


27/4027

Maya Modelling and Texturing:

During this project one of the main tasks that I needed to complete was to cleanup the topology of a static mesh

and Texture them. Here are selections of the ones I have textured:

Spike brush texture Spike brush model

Sucker Punch texture Sucker Punch model

Trampoline texture Trampoline model


28/4028

The programming side:

The entire kismet in the game was

created by Dan and Sherzard but

when it came to editing the unreal

script, it was between me and Dan

with the help of Martin. Initially I

started off by following a tutorial

online, but eventually this becamedificult. I needed to edit and cre-

ated my own class iles. During

following this tutorial, it all seemed

to have gone wrong. One statement

wasnt relating to another and so

forth. So eventually with the help

of Martin we went through all the

classes that I had set up using the

Outside Resources:

During this project we had

decided that it would be neces-

sary to outsource some of the

development to the second

year of the ND Games Design

students. We had asked them toprovide us with a fully rigged

and animated character that we

could use within our game. We

eventually received the charac-

ter from them and managed to

implement it into our game.

tutorial. We had found that some of

the statements werent spelt cor-

rectly and some directories werent

linking to another. Towards the end

we used some classes provided by

martin and edited them to it our

own game. After a few tweaks we

eventually got the game to compile

with no errors.

The end product. A screenshot from our game ~ RAPTURE

Conclusion:

This project was exhilarating, the demand for the fast paced working is something that has helped realise the

potential within myself and of others. This project has helped me to work better in teams as well as how to

manage a team. It has helped me realise that creating a game is more achievable than I had once thought. Not

to mention that it has helped me break the barrier between programming and myself. This project was a good

eye-opener on the type of work mentality and eficiency it would take to create a game.


29/4029

Lecture SeriesThe usefulness of the lecture series isnt something that I would ques-

tion; of course it is useful to someone. Though, to myself I found

that every lecture was extremely similar if not exactly the same. The

only difference being that some would be talking in person and oth-ers over Skype. Each individual consistently talking about the games

industry and how they despise these giant corporate companies and

that working independently somehow makes the world spontaneously

shiny. At rst I could swallow every last word that they spoke and hap-

pily think they where right, but from the outside looking in it became

ever clear that something was wrong, either with this handful of people

or with the balance in the industry. It seemed as if the larger companies

was a pestilence and they where preaching the words of a saviour.

Now, I know this doesnt shine a great light on the lecture series but in

argument the whole essence of sitting somewhere away from an educa-

tional institute seemed to almost counterbalance any wrong that these

people had say. Arguably, they did have some interesting advice to

give; either it was advice for portfolios or how to start up a small busi -

ness. What I mean to say is that Ninja is a great way to build motiva-

tion within a team and to release any stress.

If I was to reect on the entirety of the lecture series and what it has

shown me, it would be that I do not want to work in or for an Indie

games company. The idea of putting so much time and effort into

building a game only to be rewarded with fuck all wont pay my bills.Perhaps if I was to look at it from the point that Ive just made a game

and somewhere in the world someone could be playing it, maybe that is

my reward. I digress, back to the topic at hand: The lecture series, well

I think the only thing missing from these lecture series was diversity.

It needed more people from a broad spectrum of professions, only then

I would truly have received the information that I am in dire need for,

though as I have said before they did deliver some useful information;

lists of free game engines and game development software and the odd

clich of Never give up. Although at one point they scolded my ears

shut with the words Art isnt important and ideas come cheap, maybeit just touched a nerve, but from that point on they failed to pitch their

life story.


30/4030

ILPThis is an extended version of The

Plan written in my major project

proposal.

This has been written on the idea

that it is solely to target the visual

design area of my aims and objec-

tives.

Here is a list of skills that I hope

to ascertain over the oncoming

weeks:

- Mark-making Techniques

- Perspective

- Shapes and tone

- Texture- Blending

- Format & Orientation

- Life Drawing

- Storyboards

- Proportion

- Different tools and medi-

ums

From this list I have planned a

week-by-week target schedule:

[Through the development of im-

ages]

9/01: {prior planning} General

Mark-making techniques and tex-

ture

16/01: Shapes, tone, blending and

proportion

23/01: Format, orientation andperspective

30/01: Life drawing and story-

boards

06/02: Different tools and medi-

ums

27/02: Final outcome (2-3 images

or developments to add to the

major project)

Final outcome:I have produced one image that has helped me fashion together a house

style that I can use for my Blog and PDF document. This image is titled

Unknown because at the time of development I was unsure about the

entirety of the major project. It relects the way I felt about my illustra-

tions and everything I had produced so far.

Unknown


31/4031

Buisness PlanI will start by stating that for me; a corporate job is not something that

I aspire to. For me; an aspiration is something that apposes fear; in the

sense that my aspiration is the juxtaposition of my fears. I dont suggest

that I aspire to be not-afraid what I mean is that I aspire to live out the

scenario that would exist if I was to juxtapose my fear. For example I fear

not being able to be creative; this is something that resounds within me, it

is my fear of being intellectually and creatively constricted that suffocates

my pathos. Thus the scenario could proceed in many ways; I could have a

corporate job and be unable to be creative (unable to develop an illustra-

tion or prose at my own whim) or I could be in a basic job, somewhere

that inancially I do not have many prospects yet I would be perfectly able

to be creative. The job is irrelevant to me because it does not make me

what I am, if I was to see it any other way; then surely Id only be lying

to myself. Although I may see the job as irrelevant it is not unnecessary

(believe it or not, I am living in the real word) this is because without a

job I would not be able to be creative; nor would I be able to live.

Now I will proceed to develop the ive year plan:

First year:

- The irst thing is to ind a job so that I can fund myself. This does

not have to be anything special, it could be any basic job.

- In between this I want to carry on developing my understanding

of philosophy in relation to illustration, I plan to do this by:

- Develop another (or further develop) dissertation on the study of

phenomenology of illustration.- Create a monograph of my work so far to use as a kind-of portfo-

lio.

Second Year:

- To continue to develop myself through these forms.

- Using what I have developed so far I must be aware that I should

share my work and theories so that I can continue to expand myself; pos-

sibly opening-up the possibility to deliver lectures on my theories so far

Third- ifth year:

- This is an extended continuation of the above.

I must take into account the paramount changes that may take place

during this span. There could be changes during this time that could be

caused that in the irst and second year; it could open up new opportuni-

ties and practices. I have to understand that my work process is inter-

nalised, during this ive year span I feel that I need to externalise it more

through the development of online activity, or through real-life stimulus

groups i.e. meetings, clubs, lectures, social events.


32/4032

Portfolio PlanTo me, the portfolio should be a collection of my best work. It should

describe who I am and what I do within it. Though this is dificult; in the

sense that for me to collate a few images in a ring-bounded case to carry

and take with me to future employers seems a little outdated. I also feel

that it would be dificult for me to create the traditional portfolio because

it would take my work out of its context/setting and expose it in a raw and

unrightfully fashion. This is because most of my work over the past year

has been part of a body; an amalgamation of illustrations, text and anima-

tion.

There may a solution at hand, a website; or a blog to be more precise. The

optimising of a blog would provide me with a vehicle in which I could

supply my most recent up-to-date work in a chronological and orderly

fashion (This will be covered more in the Web section). Along with this I

could develop a monograph; a collection of illustrations that are annotated

so it could guide the potential employers/clients to the correct perceptionof an illustration.

The monograph:

This would be a type of book comprising of my most recent/best work fol-

lowed by an in-depth annotation that describes the image and its purpose.

The monograph will act as a fresh way to present my work to possible

employers/clients in the physical sense. It will help me demonstrate my

theories behind illustration in a simple and precise manner; this could

be done by comprising future segments of my book that I am to go on to

write and images that have a bold and consistent message. I could also usevisual statements to annotate my illustrations.

This is something that I will be developing after the course because I am

constantly changing my theories on philosophy and semiotics with the

more I research and learn.


33/4033

The Web VehicleAs of recent it has become necessary for me to have a blog, this will act

as a way for me to communicate with the exterior world. It will be a way

for me to publish my work (illustrations/writings) and discuss them. It

will help me externalise my theories to the general public.


34/4034

The Dissertation

Can I inuence a specic percep-

tion of an illustration by the appli-

cation of existential and semiotic

thought in its development?

I am going to explore the con-

sciousness behind the perception

of illustration, to do this I plan toutilise the study of existentialism

and semiotics. Ultimately, I want

to further develop the context

behind my illustrations by focus-

sing on their objective/subjective

meaning and how I may be able to

derive it from my consciousness

and form it into a useful tool.

First, I feel that I must acknowl-

edge certain terminology in

relation to Philosophy and the

summed meaning of each.

Phenomenology: This is the study

of experience or Phenomena; the

appearance of things as it is in my

experience.

Basically, phenomenology

studies the structure of various

types of experience ranging from

perception, thought, memory,imagination, emotion, desire,

and volition to bodily awareness,

embodied action, and social activ-

ity, including linguistic activity.

Smith, David Woodruff, "Phe-

nomenology", The Stanford Ency-

clopedia of Philosophy (Fall 2011

Edition), Edward N. Zalta(ed.)

Existentialism: This is the term

given to the theory that wouldsuggest that I am dened as an in-

dividual by my own experiences.

Existentialism, therefore, may

be dened as the philosophical

Materials Read/Reading:

Being and Nothingness by John-Paul Sartre

La Nausea by John-Paul Sartre

Between Existentialism and Marxism John-Paul Sartre

Beyond good and evil Friedrich Nietzsche

The Limits of Art Tzvetan Todorov

Image. Music. Text. Roland Barthes

Phenomenology of Perception Maurice Merleau-Ponty

theory which holds that a further

set of categories, governed by the

norm of authenticity, is necessary

to grasp human existence. Crow-

ell, Steven, "Existentialism", The

Stanford Encyclopedia of Philoso-

phy (Fall 2011 Edition), EdwardN. Zalta (ed.),

Authenticity: This is the idea that

my experiences can mediate my

existence to the sense that when I

am not true to myself (for exam-

ple J.P-Sartre would argue that

when I lie or I am sincere I am not

deriving from a point that is miti-

gated truly by my experiences.) I

am in bad-faith of myself.

Authenticity denes a condition

on self-making: do I succeed in

making myself, or will who I am

merely be a function of the roles I

nd myself in? Thus to be authen-

tic can also be thought as a way

of being autonomous. Crowell,

Steven, "Existentialism", The

Stanford Encyclopedia of Philoso-

phy (Fall 2011 Edition), Edward

N. Zalta (ed.),Semiotics: This is the study of

signs and their meaning; this can

be better understood in a sense

that the sign is something that

stands for something else. When

I talk about semiotics I mean its

relation to human experience.

Now that I have explained the

methods and the approach that

I am to undertake I feel that Iam at the right point to explain

how these theories relate in the

speculation of my thesis. There

are many ways that enable me

to use these theories during the

development of an illustration;

the main way requires that I have

an understanding of Existential-ism and phenomenology, but I

need to utilise these philosophies

through the means of semiotics.

So if I am to understand that my

experiences make me what I am

and that I can understand the basis

of these experiences through the

understanding of phenomenology

(where the experience is derived),

then I can apply the experience

through the study of semiotics (re-

lating these experiences to signs).

Though to argue this I would say

that it is difcult to turn theory

into practice and if I am to apply

my experience via these methods,

then surely I would need to have

an understanding of a universal

symbolism where everything

experienced has a connoted mean-

ing:The code of the connoted sys-

tem is very likely constituted ei-

ther by a universal symbolic order

or by a period rhetoric, in short by

a stock of stereotypes (schemes,

colours, graphisms, gestures,

expressions, arrangements of

elements). Roland Barthes, P18

The photographic message 1961,

Image Music Text, Fortana PressIt would appear that the ap-

plication of symbolism can be

determined by the technicalities

of the illustration itself. Or in my

opinion it would be more ben-

ecial to myself if I was to pose

that if I utilise the understanding

of existentialism through phe-

nomenology I could generate the

signs that go together to form

the illustration. I must now elabo-

rate what I mean by generate;

that is, that I need to explain the

cognitive process that allows me


35/4035

to come to the premise that I can

in fact generate these signs. It

is at this stage that I have found

that I can break the image down

to a dualistic view of Reality and

Non-Reality: Reality is the ren-

dering of something represented

as true to its objective counterpart

and non-Reality is the rendering

of something represented as we

interpret it (Subjective).

Though I must acknowledge that

even though I break an image

down into these two segments I

am forced to admit Sartres un-

derstanding of the way in which

my consciousness can affect the

understanding of this dualism:

Let us understand indeed thatour theory of the phenomenon

has replaced the reality of the

thing by the objectivity of the

phenomenonWe shall interpret

this by saying that the series of

its appearances is bound by a

principle which does not depend

on my whim. But the appearance,

reduced to itself and without

reference to the series of which itis a part, could be only an intui-

tive and subjective plenitude, the

manner in which the subject is

affected. If the phenomenon is to

reveal itself as transcendent, it is

necessary that the subject himself

transcend the appearance toward

the total series in of which it is a

member. Pg3, Being and Noth-

ingness, Routledge Classics, Jean

Paul Sartre

This would infer that though I

may appear to be breaking apart

the subjective and the objec-

tive within an image I am in fact

only ever segregating the sub-

jective. In the sense that reality

is ultimately my interpretation,

therefore the image at question in

relation to this dualism is always

going to postulate as a kind-of-manifestation of what is; it is in a

similar ambience to that in which

I would view a photograph (The

photograph is moderated by the

photographer, though the camera

will replicate a full render of what

has been captured, the render is

still aficted by the intention of

the photographer by technical ap-

plication; aperture, composition,

framing and the fact that the pho-

tographer could have generated

what they have captured articial-

ly). This dualism is similar to that

which Roland Barthes calls The

Photographic Paradox:

The photographic paradox can

then be seen as the co-existence

of two messages, the one with-

out a code (the photographic

analogue), the other with a code

(the art, or the treatment, or thewriting, or the rhetoric, of the

photograph) Roland Barthes,

1961, Pg19 The photographic

Message, Image Music Text, Fon-

tana Press

It is present to me that the dual-

ism is rudimentary and it appears

to annihilate itself through the

segregation of Objectivity and

subjectivity. Although, Sartresconcept of Bad-Faith could help

me understand that I can still

utilise this segregation as long as

I am to only acknowledge it as a

method:

It constitutes itself in its own

esh as the nihilation of a pos-

sibility which another human

reality projects as its possibility.

For that reason it must arrive in

the world as a Not; it is as a Not

that the slave rst apprehends the

master, or that the prisoner who

is trying to escape sees the guard

who is watching him. There are

even men (e.g., caretakers, over-

seers, gaolers,) whose social reali-

ty is uniquely that of the Not, who

will live and die, having forever

been only a Not upon the earth.

Others so as to make the Not apart of their very subjectivity,

establish their human personality

as a perpetual negation... In irony

a man annihilates what he posits

within one and the same act; he

leads us to believe in order not to

be believed; he afrms to deny

and denies to afrm; he creates a

positive object but it has no being

other than his nothingness... It is

best to choose and to examine one

determined attitude which is es-

sential to human reality and which

is such that consciousness instead

of directing its negation outward

turns it toward itself. This attitude,

it seems to me, is bad faith (mou-

vaise foi). Pg70-71, Being and

Nothingness, Routledge Classics,

Jean Paul Sartre

Hitherto from the application of

Bad-Faith on humanity to theapproach of a more methodical

application, which in its essence is

a way in which it allows us to ac-

knowledge the falsication of the

dualism but apply it as a method

to justify its use, therefore it can

become irrelevant that the dualism

is annihilated. It is at this point

that I feel that I must revert back

to the initial principal of the dual-ism and explain my understanding

of this and why I must apply it:

it is not the initial principal that I

am to oppose with the objective

and subjective, but it Is that I am

to apply this method so that I can

be conscious of both; so that I can

adapt my image in totality of both

Subjective and objective plenitude

so the audience may arouse both

areas of perception; in essence I

aim to create an amalgamation

of both, but in a way that neither

corrupts the other, by corruption I

mean that no intentional applica-

tion in the essence of semiotics

is to frame both subjective and

objective but is to give a clear and

distinctive variation or balance

between the two. This balance is

what I would call the Appear-ance, that is that I am observing

the appearance of the image in

respect to its objective and subjec-


36/4036

tive denotation and connotation.

It is after the segregation that I

feel I must move on to discuss and

to comprehend the transcendental

method when trying to implement

this development process. When I

talk about transcendence in rela-

tion to a conscious act (or in my

case; the perception of the im-

age) what I mean is the conscious

process of interpreting something

via the understanding of what is

already perceived (experienced)

and un-intentionally surpassing

this into what you do [Figure

1]. It appears to me that Tran-

scendence is a conscious act; it

is something that happens upon

reection (by reection I do notmean after or before, but during or

as it happens). So I could say that

upon perceiving (by perceiving

I mean to look at or observe) an

illustration its appearance could

provoke specic phenomena. This

is to say that my perception of an

illustration has transcended a spe-

cic experience; it is then that my

own experiences are aficted bythis phenomena. It is here where

I must enunciate the properties of

the phenomenon (it is also here

where the intentionality of an im-

age can become wavered by the

experiences of the individual that

perceives it). If the phenomenon

is my experience, then it is my

consciousness in which denes

the experience or my conscious-

ness of my senses that ultimately

dene the phenomenon. Then it

is the totality of who I am as an

individual which is being aficted

by the phenomena of perceiving

an illustration. What I mean by

the totality of who I am is:

[My] perception, thought, mem-

ory, imagination, emotion, desire,

and volition to bodily awareness,

embodied action, and social activ-ity, including linguistic activity.

Smith, David Woodruff, "Phe-

nomenology", The Stanford Ency-

clopedia of Philosophy (Fall 2011

Edition), Edward N. Zalta(ed.)

Then it is almost like a conscious

storm of redening me against

the proportion of all these things

in reection to the phenomena

that has been aroused from this

illustration. So, to quantify what

I have come to so far; that I have

broken the image down to an

appearance and from the appear-

ance I transcend the phenomena,

from here I mediate the phenom-

ena of the appearance with my

own phenomenon, it is at this

stage where I have come to what

I have perceived. Though I must

acknowledge that though I have

mentioned this process that in noway does it change or transform

objectively what the image is

but it is at this stage that I have

come to the intentionality of the

illustrator. Though to argue this

I could say that I have not come

to the intentions of the illustrator

but I have come to the intentions

of the image in the sense that I

have taken from the image what I

perceived, what I mean is that my

perception of the image has not

been moderated by the author but

by my own experience.

On the other hand I could argue

(This is where the understanding

of this process comes into use)

that though my perception of this

image has been tailored by myown experiences (as the one who

perceives it) could I not argue

(as the illustrator) that my under-

standing of this whole process

would allow me to tailor the illus-

tration itself by understanding my

own phenomenon and using it as

a way to gauge the signs of the

image, it is then that the appear-

ance of the image derives a spe-

cic intention and the phenomena

generated is the phenomena that

I intended. Though, it is apparent

to me now that even though my

intention was there even through

the initial transcendence of the

appearance I am still left to ght

the battle with the phenomenon of

the individual that perceives the

image.

Now let me put this into context

in terms of working with or with-

out a client:This is not a step-by-step instruc-

tion of what to do; it is more a

speculation to argue the practical

application of this theory:

I start with an idea for an im-

age, an assumption on form and

composition. Though the idea can

be born either from the client or

myself, which could ultimately

change due to the parameters ofeach starting point. The param-

eters are: that consciously I would

have to acknowledge either my

own, or my understanding of my

clients interpretation, though

if it is born from my client, the

process can be mitigated by he/

she explaining what they want.

Still, my own understanding of

what the clients intention may be

ultimately hindered by non other

than that of my own understand-

ing. Nevertheless I have given

birth to an idea for an image. Now

that I have this idea, I must mould

it and aid it to take shape, I must

consider my own application of

techniques in order to perfectly

describe this image. While at the

same time giving acknowledge-

ment to what I have learned aboutthe intentions of myself and/or my

clients.

Once I have a solid idea I will


37/4037

move on to the intention, that is;

what I want you to feel, think and

understand from the illustration.

I categorise my intentions, then I

move on to describe you and your

background and how you might

interpret the image. Upon reect-

ing this I may or may not alter the

image to either juxtapose your

experience or to solidify how you

may interpret the image. Thus

making my intention more con-

ceivable, obvious or shrouded in a

juxtaposed faade.

It is during all of this that I must

always concern myself with the

intentions of the image and the

phenomenon of my audience, by

phenomenon I mean the socialcontext and background that the

image is destined for.

Conclusion:

Now I will summarise what I have

established and how I can develop

this to move forward:

- That as a method we can

dene an image into a dualism of

subjective and objective with the

intention to balance the appear-ance of each.

- That understanding the

Transcendental method of the

appearance of things to the phe-

nomena can allow us to derive

where the experience originates.

- That the appearance of

things (the illustrators intention)

will always succumb to the phe-

nomenon of the audience without

the introduction of a universal

symbolism.

It is clear to me now, that to

consider implementing this pro-

cess into my own development

could be a reckless and possibly

a pointless effort, it is also clear

that though I could argue that if

I were to alter the perspective of

this understanding despite that I

still come to the conclusion thatindividually it is difcult to arouse

a specic intention, but if I was to

alter my perspective I can come

to the premise that we can be

isolated into social groups based

on: age, sex, preferences, educa-

tion and class as insinuated by

Barthes:

The emission and the reception

of the message both lie within the

eld of a sociology: it is a mat-

ter of studying human groups, of

dening motives and attitudes

and trying to link the behaviour of

these groups to the social totality

of which they are a part. Roland

Barthes, Pg15, 1961 The photo-

graphic Message, Image Music

Text, Fontana Press

Using these segregations as a

grounding structure you can in

fact tailor the idea of existential-phenomenology and apply it to a

broad spectrum of people within

these given stereotypes. When

segregating or dealing with cultur-

al or social phenomenon it would

only be rational to reduce these

social anomalies via a constant,

media. It would be a good hypoth-

esis to pose the question do I learn

from the phenomenon that mediaproduces? If so, am I less likely to

use the experiences gained from

TV programmes, Music, Social-

Networking and Radio rather than

form my own experiences? If I

were to acknowledge and admit

that our own experiences are

partially given to us by Media, the

less likely I am to have an under-

standing that is based solely from

my own interpretations. Although

I could argue this by saying that:

what I interpret from media is in

fact mediated by what I already

know, but then would this argu-

ment work on a generation that

has been solely inuenced by

Media? These are questions that

would need further research to

answer, without an answer it is

difcult to come to a nal conclu-sion in terms of this thesis. It is at

this point that I cannot say yes

or no but maybe, by this I

mean that I can only inuence

the perception of an illustration

to a certain degree and without a

means of a universal symbolism it

will always stay as an insinuation,

or a connotation.

To be able to come to a nal con-

clusion I would need to continue

developing myself in the study of

Philosophy and semiotics; this is

so that I could ultimately gener-

ate or negate my phenomena to

a point where I can derive my

experiences and mould them into

a sign. It is then, that once I have

an understanding of this that I

feel that my intentionality will be

fully reected by the image, also

that the audience will perceive myintentions without being mitigated

by their own phenomenon.


38/4038

In the mind of the artist

Well it seems that I am calling my-

self an artist now.

Youve probably read me talk about

the self allot by now, but let me

explain what I mean by the self. To

me, the self is my way of relating

to myself (Obvious I know). Within

this term I must explain that I accu-

mulate together an epoch of emo-

tions, thoughts, phrases, beliefs,

theories and events, all of which

sum up as a totality of my experi-

ence. To me the self is something

that I have been studying for a

long time; it is only as of late thatI have decided to take an intellec-

tual approach. This has helped me

create a fresh pathos in which I can

approach old techniques. It is by

externalising the self that enables

me to do this.

By understanding how my emo-

tions, thoughts are derived at a

conscious level I can better un-

derstand how to express what isneeded for the job. I can use my

understanding of how the percep-

tion of an image is transcended

and mitigated by the properties of

experience and use the outcome of

this process to inluence the job at

hand. It is this process of external-

introspection.

To me, something that can be per-

ceived at multiple levels will have agreater impact; as art is my aflic-

tion and art is about communica-

tion then surely with the ideology

of the self I can create greater

pieces of art.


39/4039

Year ReviewI started this year with a vast amount of motivation and a yearning to

expand on my skills in all aspects of the course. I started out with the

plan to increase my technical skill in illustration and that alone. Yet,

it was because of my illustrative style and a few mental pushes frommy tutor that I decided to question, why, why was it that my illustra-

tions had this kind-of rough and etched like aesthetic quality and why

did this quality cast an emotional dexterity within my own mind. It is

from this point that my search began, for reasons that had shovelled me

deep in the works of the human consciousness and the realm of layered

images. I was not far off from the starting line and I was already feeling

bogged down by this frantic mode of repressive understanding.

After the development of The bathroom I was trying to apply every-

thing that I had grasped so far in a frivolous snatch of trying to under-

stand. It had worked, yet it had opened me up to a new aspect of illus -

tration, something that before I had only the vague comprehension of.

It did at rst seem somewhat crazy to believe that I did not understand

my own experience of; anything, it was the fact that I had only ever

taken my experiences as a de facto plenitude of itself. It was from this

that the animation project and my dissertation had spawned (Somewhat

later in the year).

The animation was a test. A test to see if I could use the theories that I

had learned from my dissertation and apply them to be used in the prac -

tical/work related scenario. After the completion of this project I real-ised that it was irrelevant if I had succeeded or failed. This was because

the entire project had allowed me to externalise all my theories, it was

upon realising that the theories that I had learned; had created a pathos

in which succession could only be realised if in fact my understanding

of them had been achieved. As of yet I am still to nd out if this is as it

is.

The dissertation has been my method of internalising all that I have

researched. It is like a quantifying monologue of introversion of every-

thing I have read, experienced or felt.

Overall, this year has not just been about the development from an

educational reproach; it has been a development of the self, an expe-

rience about existing and a chance to mix with like-minded people.


40/40

THE END.

Mw Major Project

Documents

Transcript of Mw Major Project